Jack in the Bath
Early on in the film, when Jack is still a radio shock jock, we see him sitting in a bath rehearsing his lines for a sitcom shoot that he has the next day. He has facial cream on his face and he sits alone in a giant luxurious bath, looking at his reflection in a small mirror as he practices his lines. This image shows the decadence of Jack's lifestyle, while also showing his loneliness and isolation. He is surrounded by beautiful things, but he has no one to enjoy them with.
The Red Knight
The Red Knight is a striking element of design in the film, an aesthetically unique specter of Parry's imagination. As a surreal medieval spectacle, the Red Knight is fully realized, with an intricately designed costume, a fantastically obscured face, riding a large horse. Terry Gilliam's sense of design and of fantastical spectacle are put to full use in the realization of this hallucination, and the viewer is transported to the medieval realm of Parry's imagination.
Off Center and Strange Angles
While Jack is in Parry's basement, Gilliam shoots all of the scenes off center and from various unusual angles. The imagery reflects exactly how Jack feels: off center, tilted as if the earth would come out from under his feet. Parry's delusions and insanity are all the more disorienting, and the way the scene is shot demonstrates the interplay between Parry's insanity and Jack's confusion. Gilliam uses the slanted camera to visually reflect this dynamic.
Dinner for One
Anne is yelling at Jack over dinner about how he is never home. The camera is close on her in a single shot. Gilliam then pulls out to reveal that Jack isn't there and Anne is alone practicing what she wants to say to Jack. The camera continues to pull out and because it does we get a sense of the space in the apartment and Anne's loneliness within this space.
